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JOHANN DAVID HEINICHEN

Flavio Crispo, Act I

01.

Sinfonia. Allegro (I)

1:55

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02.

Sinfonia. Amabile e sempre piano

1:17

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03.

Sinfonia. Allegro (II)

1:30

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04.

Nè potrà il tuo favor

1:06

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05.

Non contrasti il fato ingrato

4:05

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06.

Tanta fierezza ove già tanto amore?

0:12

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07.

Non tutta renda si l'alma al rigore

3:50

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08.

Una fama miglior cercai trà l'armi

0:41

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09.

Il trionfo del mio sdegnio

1:32

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10.

Strisciò su queste luci d'Elena mia

0:50

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11.

Il dolce mio servaggio

3:18

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12.

Signor, in questo dì veggo adempisse

2:24

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13.

Basta à me luci adorate

4:36

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14.

Ohimè! Più che sincero

1:12

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15.

Chi chiedesse all'augelletto

5:00

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16.

Allor che a Costantino

3:45

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17.

Ohimè! Non credere, ch'io possa

5:16

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18.

S'appresti il trono onde sovrano

2:20

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19.

Se tal sull'alme regni

4:53

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20.

Sciolto dalle catene già lungo stuol

0:31

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21.

Ballo

3:08

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22.

Questo, onde Roma il mio venir onora

1:13

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23.

Cesare, il novo grado

3:11

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24.

Bella pace, in più placide cure

5:34

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25.

Che pensi far?

1:57

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26.

Che mia man porti la fede

2:42

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27.

Ben qualche speme

1:13

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28.

Se adorno di speme

4:53

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Flavio Crispo, Act II

29.

Sinfonia. Allegro (I)

2:01

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30.

Sinfonia. Larghetto

0:39

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31.

Sinfonia. Allegro (II)

1:30

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32.

Io, che so qual ver lui nutri odio in seno

1:51

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33.

Quel nodo, ond'ei paventa

3:59

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34.

Contaminata assai s'è l'innocenza mia

0:24

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35.

Non la madre, non l'amante

2:13

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36.

Teneri sensi qui detto lontananza

0:30

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37.

Con questa speme farò

4:00

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38.

Vincitor delle Gallie

1:38

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39.

All'empio il primo fulmine

3:34

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40.

Di felice messaggio apportator

2:33

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41.

Non perché veda di strano aspetto

5:15

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42.

Gioverà forse il far accorta Imilee

1:15

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43.

Sdegno tu cerca ov'io

2:57

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44.

Cosa, che per commando

2:00

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45.

Perdonate sembianze leggiadre

4:44

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46.

Che più resta fellon pronuncia il nome

1:16

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47.

Mio destino è aver in petto

3:49

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48.

Dì dal trifono à morte?

1:06

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49.

Arde fiera in ciel' cometa

3:30

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50.

E di qualche sciagura

1:16

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51.

In veder l'altrui piacer

5:45

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Flavio Crispo, Act III

52.

Dunque morir degg'io?

3:18

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53.

Vieni, ò tosco, e scendi al cor

4:37

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54.

Ceda a tema vergogna

4:16

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55.

Questo sguardo

6:27

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56.

Gridar, piange, spirar, qual farò prima?

3:38

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57.

Vuoi di più, beltà sdegnata?

3:13

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58.

Sì, a Costantino andiam

1:17

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59.

Face sarà di furia

2:42

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60.

Dunque gli occhi dell' alma immagin

0:31

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61.

Crude porte diserratevi

4:11

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62.

Questa nube, che sorge non permettan

1:30

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63.

Se chiama al soglio

2:48

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64.

Servi, il bagno chiudete

1:25

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65.

Vostre imagini noi non siamo

5:03

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66.

Signor, sua la tua fronte

1:08

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67.

Non tardar, impugna il folgore

2:59

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68.

Schiavi, l'iniqua ove più ferve il bagno

0:21

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69.

Già dal profondo

1:42

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70.

Prima la morte v'accorrò

1:12

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71.

Io vorrei saper d'amore

4:49

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72.

T'intendo, o ciel

1:59

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73.

Fantasma, che sorgesti dall' abisso

3:13

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74.

Di procelle, e d'ombra a scorno

2:23

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Solo: il Gusto Barocco Orchestra

Orchestra: il Gusto Barocco

Conductor: Jörg Halubek

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Notes

Following the premiere of Brescianello’s Tisbe, Johann David Heinichen’s Flavio Crispo is now the second discovery of a never-performed Baroque opera in an interpretation by Il Gusto Barocco. This Italian opera by Heinichen, one of the most valuable documents of its times in matters of compositional history, had been forgotten for some three hundred years until the ensemble premiered it in 2016. The historical circumstances behind this opera are very special: a quarrel involving the two world-famous castrati Senesino and Berselli caused a scandal that prevented the premiere of Heinichen’s opera at the Dresden court. Some anecdotes relate that the singers accused the composer of imperfect knowledge of Italian and tore the score to shreds during the rehearsal process while he looked on. Others state that Handel had wooed away the Dresden singers during a journey from Italy to London. The score is a masterpiece. To be specific, Heinichen selects a highly exquisite instrumentation in order to depict the purity and fragility of the female character Elena: in the orchestral ritornellos three sorrowful oboe voices are heard without any sort of bass foundation – their song of lament itself is accompanied by the quiet pizzicato of the strings and in our interpretation of the basso continuo by harp arpeggios. This melancholy and fragile Act II finale is an exemplary instance of Heinichen’s poetic and highly sensitive setting of this opera libretto.

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